Moura Nádia, Dias Pedro, Veríssimo Lurdes, Oliveira-Silva Patrícia, Serra Sofia
University of Coimbra, CEIS20, Faculty of Letters and Humanities, Coimbra, Portugal.
Universidade Católica Portuguesa, School of Arts, Research Centre for Science and Technology of the Arts, Porto, Portugal.
Front Psychol. 2024 Oct 9;15:1467434. doi: 10.3389/fpsyg.2024.1467434. eCollection 2024.
Assessment is a crucial aspect of music performance. In pedagogical contexts, an effective assessment process can measure student achievement and inform instructional decisions that contribute to improving teaching and learning. However, music performance assessment is particularly challenging due to its inherent subjectivity, involving personal expression and interpretation, which can lead to divergent opinions. In this PRISMA systematic review (registration DOI: 10.17605/OSF.IO/CSM8Q), we aimed to delimit and analyze solo music performance assessment systems found in the literature to date, including their corresponding evaluation categories and descriptive criteria, rating methodology, and target audience. A search in three main scientific databases (Web of Science, Scopus, ERIC) was conducted using keywords associated with the topic of assessment in the field of solo music performance. Ultimately, 20 papers were selected and examined, resulting in 26 original assessment systems for analysis. Regarding sample characteristics, we found that studies mainly focused on evaluating high school and university students, with music teachers and faculty members serving as primary evaluators. Many assessment systems were designed to be applicable across various instruments, although some were tailored to specific instruments (e.g., piano, voice) and families (e.g., brass, woodwind). Systems typically structured evaluation around technical, interpretative/expressive, and various musical feature categories (e.g., pitch, rhythm, intonation), further elaborated with descriptive items. While five-point Likert scales were commonly used, recent studies indicated a shift towards rubrics for detailed feedback, which aids examiners' understanding and supports student progress. No differentiation was found in assessment criteria based on students' learning stages, suggesting an area for improvement in refining these assessment methods. This study identifies gaps and proposes improvements in existing assessment systems, providing a foundation for educators and policymakers to enhance curriculum design and instructional practices in music education.
评估是音乐表演的一个关键方面。在教学环境中，有效的评估过程可以衡量学生的成绩，并为有助于改进教学的教学决策提供依据。然而，音乐表演评估因其固有的主观性而极具挑战性，这种主观性涉及个人表达和诠释，可能导致不同的观点。在这项PRISMA系统评价（注册DOI：10.17605/OSF.IO/CSM8Q）中，我们旨在界定和分析迄今为止文献中发现的独奏音乐表演评估系统，包括其相应的评价类别和描述性标准、评分方法以及目标受众。使用与独奏音乐表演领域评估主题相关的关键词在三个主要科学数据库（科学网、Scopus、教育资源信息中心）中进行了搜索。最终，筛选并审查了20篇论文，得到26个用于分析的原始评估系统。关于样本特征，我们发现研究主要集中在评估高中生和大学生，音乐教师和教职员工是主要评估者。许多评估系统设计为适用于各种乐器，尽管有些是针对特定乐器（如钢琴、声乐）和乐器类别（如铜管乐器、木管乐器）量身定制的。这些系统通常围绕技术、诠释/表现力以及各种音乐特征类别（如音高、节奏、语调）构建评估框架，并通过描述性项目进一步细化。虽然常用五点李克特量表，但最近的研究表明，正朝着使用评分细则以提供详细反馈的方向转变，这有助于考官理解并支持学生进步。在评估标准中未发现基于学生学习阶段的差异，这表明在完善这些评估方法方面还有改进空间。本研究识别了现有评估系统中的差距并提出了改进建议，为教育工作者和政策制定者加强音乐教育中的课程设计和教学实践奠定了基础。
